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A song, which can inarguably be classified as immortal. A song that has been rated as classic. A song that saw so many geniuses joining hands together. An evergreen song in the hearts of the people. A benchmark song as for as Brother – sister relationship is concerned. A song that has stood the test of time. The adjectives can be nothing but Superlatives. We can go on describing. Let us take up this song.

MOHAN –THE ARTIST

In olden days there were artists. Artists in the sense they used to draw the banners and make cutouts for the films to be placed in theatres and important locations. Nowadays with multiplexes springing up and hoardings banned, we don’t see banners or cutouts. But during those days, there were many. One such artist was Mohan and he ran a company called Mohan Arts. He basically being an artist was “drawn” into this profession and he used to take up banner writings for films. National Pictures Perumal Mudhaliar was a native of Vellore and he knew Mohan. So when he started Parasakthi, he put Mohan in charge of banners. At that time Mohan Arts was functioning at Mount Road. Near Wellington talkies, there was a small lane and nestled inside was a house with a large vacant ground. This belonged to Hyderabad estate owners and they had let it for lease and Mohan Arts was functioning there till 1979. The people would draw the banners there and it would be shifted to the respective theatres.

NT & MOHAN

NT though had started acting in films was still active in stage. He would himself be acting or would go to watch the plays. The plays were used to be staged in Otrai vaadai theatre at Elephant Gate – Waltax Road and he used to walk back all the way to Mount road and would come to Mohan Arts. He would sit there and observe the drawings. He would ask Mohan to paint his face in a presentable manner. There was a background to this. Readers should be aware that after shooting a certain portion of Parasakthi, there were some people who wanted NT to be replaced. The reason cited was his face is not presentable when he delivers the dialogue. Of course it is history that he cleared all those hurdles. So NT made it a point to visit Mohan Arts almost everyday and see for himself the banners. Even when they were doing banners for other films, NT used to go there and observe. Mohan who initially thought of this man’s intrusion as a nuisance later was attracted by this man’s down to earth nature and started developing affection for him. It was mutual and by the time Parasakthi was released, Mohan made extra efforts to make the banners look good.

With Parasakthi turning into a runaway success, NT was becoming busier and his daily sojourns to Mohan Arts started to come down and after some time it completely stopped. But the success of Parasakthi had made Mohan also busy and on a sentimental note he was asked to draw the banners for new NT films. So barring a few, all new NT films had banners drawn by Mohan Arts. With these turn of events, Mohan become so close with NT. But Mohan could not meet him daily as it was happening earlier. Mohan decided that if NT could not come, then I would go. So he started visiting NT at his home. He used to go in the morning and talk with him. If NT is very busy then he would accompany NT to the studio. He would talk with him in the car and come back once NT reaches the studio. Later his stay got extended and he was seen all along with NT. He used to take to the shooting spot drop him and come back and in the evening he would go back and pick him up so much so that NT used to always travel in Mohan’s car.

It became an unwritten rule that Mohan Arts would do the banner works for all NT movies and Mohan out of sheer affection and love for NT was finding out innovative ways of banner writings that would enhance the movie’s appeal.

MOHAN & VANANGAMUDI CUT OUT

Jupiter was a famous production company in the 1940s and 50’s. There were 4 persons who worked there as office in charge(s). They wanted to produce a film. They came out of Jupiter and formed a production company called Saravanabhava unity Pictures. They had come to NT and he agreed to do a film for them. The film was Ethirpaaradhadhu. Written by Sridhar and directed by Pulliah, it was an anti –sentiment film but it was well received by the public. It was the first Tamil film to be released in 6 theatres in Chennai and it crossed 80 days in 5 theatres and celebrated 100 days. The success of Ethirpaaradhadhu prompted them to launch their next film. It was named as Vanangamudi. There were major differences between the two films. While the first film was social, the second one was historical. Padmini was the heroine of Ethirpaaradhadhu but Vanangamudi had Savithiri.

During the shooting of the movie, this was held in hillocks in forest areas, NT while enacting a scene narrowly escaped from falling down a 150 feet slope [சிறு கதையாக முடிந்திருக்க வேண்டியவன் தப்பித்து தொடர் கதையாகி விட்டேன்]. The movie was completed and was slated for a Tamil New Year release for 1957. When the print was ready, NT saw it. Along with him Mohan was also there. The banner works had already started. After the show was over, NT asked Mohan to come along with him and on reaching home NT told him that movie is a good one but for that message to reach the audience, some innovative advertising needs to be carried out. He asked Mohan to think about it.

Mohan on reaching home was clueless. He was wondering what could be done to catch the attention of the public. He had a sleepless night and in the early morning he had a flash. He went to the Studio Lab and procured some sample negatives. In the film NT would don two get ups. One in the traditional royal family get up and another where he would come as a commoner living in the forest area. There was one pose of NT in the second get up, which attracted Mohan. He took that and went to his office. He divided that negative into 8 parts and began to sketch the same. He transformed each part to a dimension of 10 feet. It required a very huge canvass for the sketching. Once he was through with the design, he bought plywood and the sketch was transformed to the plywood. The plywood was cut as per the body shape of NT (as given in the drawing) and it measured to a height of 80 feet. Thus the first gigantic cut out for any personality any where in India was born.

Now more than the making, the job of putting up the cut out was more difficult. They transported the pieces to Chitra theatre. They found a place adjacent to the theatre. They had to support the cut out with wood logs and the saaram (சாரம்) was raised. It was to the credit of the workers that for any person who was standing in front of the cut out, they could not see the saaram. In addition they provided bulbs and electric connection to the cut out so that it was visible even in the night. Once the work was over (it was early morning) Mohan straightaway went to NT’s home and brought him to the theatre. NT was truly impressed. This news spread like wild fire and there were hoards of people who came to see the cutout and of course the movie. It was an instant hit. But to the credit of Mohan, he never charged anything from the producer for the cut out. He was happy about the appreciation he received. But there was trouble waiting for him. While everybody was singing praise for the cut out, three Government Department officials descended on him. The Chennai Corporation, Police and Fire Force departments.

For Corporation, he had not paid the tax for the place and usage. For police, he didn’t take permission to fix up the cutout. For fire services, it was compromise on safety in case of accidental fire. Mohan had to shell out for all the Departments but fire service insisted on a fire engine to be stationed there. But the person has to pay the charges for the fire engine. Mohan from his own pocket paid for the fire engine during the entire run of the movie (100 days). NT was very much pleased with him. This prompted Panthulu to hand over the works of Kattabomman and Mohan did a fabulous job of erecting fort like sets in the theatres where VPKB was released. Again that was well received.

MOHAN – THE PRODUCER

The friendship bond between NT and Mohan was rock steady and his daily visits to the studios (wherever NT was shooting) continued. One prominent personality who was watching these daily sojourns once asked Mohan to come and meet him. He asked Mohan why he is coming to the sets daily, spending petrol when he had no work there whereas he is not going to his office that was overloaded with work and where his presence is required all the time. Mohan had replied though what the other person said was correct, still he is coming due to the sheer affection and friendship extended by NT. The famous person asked Mohan whether his dear most friend would do a movie for him. He asked Mohan to check this out. Mohan left the place confused.

The next day Mohan told NT what transpired between him and the other person and straightaway asked him whether he is willing to do a movie for him. NT without batting an eyelid said yes and asked Mohan to get in touch with his brother VC.Shanmugam. Mohan met VCS and he agreed to do a film for him. He asked him to find a story and a financier. Mohan who was surprised by the quick turn of events decided to find out the financier first. He went back to the prominent personality and updated him on the developments. The other person was shocked rather pleasantly surprised and he was happy for Mohan. He promised Mohan that he would finance the project and immediately called up his accounts manager and asked him to give money whenever Mohan asked for.

Having solved the finance issue, now it was time for story searching. NT was riding a huge wave of success at that time. (Of course his success graph was always on the up). VPKB, Baagha Pirivinai and Irumbu Thirai had celebrated Silver Jubilees continuously and Maragatham, Deiva Piravi and Padikkadha Medhai were all 100-day movies. So literally producers were queuing up in front of Annai Illam. So Mohan was aware that though he has the call sheet of NT, a good story is essential for transforming the call sheet into a celluloid version.

STORY HUNTING

As most of the readers would be aware that NT was very fond of hunting. Whenever he found time, he used to go for hunting in the forests. One of his best friends was Muthu Manickam who belonged to Vettaikkaaran Pudhur near Coimbatore. NT often used to stay at his house and both of them used to go for hunting in the forests. By this time Muthu was also interested in producing a film and he was also waiting for a suitable story. So at the same point of time two friends of NT were waiting for starting their production. Everyday they used to assemble at Sivaji Films office at Besant Road, Royapettah. Many storywriters used to come there and story discussion would go on. One day they had information that Sridhar has a story in his hand. Sridhar participated in the meeting and discussed about the story knot in his mind. Everybody liked it. Who would produce it? The lot fell for Muthu. Sridhar basking in the Kalyana Parisu fame, till that time had not directed a NT movie and he was assigned to do the direction. A new banner was floated in the name of Prabhuram Pictures (incidentally Muthu’s son’s name was also Prabhu) and Vidi Velli was started.

Mohan was wondering whether he would be able to produce a movie. But his discussions at Sivaji films continued. Everyday when he got down from the car, a man would be waiting at the entrance and he would request a chance from Mohan. Initially Mohan would not even listen to what he was saying and would walk in. But this man did not lose heart. He continued to try and grab attention. Since this was happening daily, Mohan began to notice. This man was from Kerala and his name was Kottarakara. In the same Besant Street, 3 houses adjacent to Sivaji films, there lived a stage/cinema actor called Friend Ramasamy. Kottarakara was a friend of Ramasamy and he was staying there with him. He had come down to Madras to try his hand at Cinema. When Mohan checked up with the guy, it transpired that he has a story in his hand. Mohan took Kottarakara to Sivaji Films office and he narrated a story there. NT, VCS, Muthu, Mohan and host of others were there. What Kottarakara narrated was not exactly film material but NT and VCS observed that the relationship it talks about had something in it and if properly shaped up, is bound to touch the chords. They asked Mohan to buy the story rights and asked him to meet up Bheemsingh. But the man Kottarakara asked Mohan to proceed with the shooting and he did not take the money for the story. This man K.P.Kottarakara later went on to become one of the top most Malayalam producers.

BHEEMSINGH –THE DIRECTOR

Bheemsingh was emerging as the top most director of Tamil Cinema at that time. He who had a disastrous beginning had overcome that and was reeling out hits after hits. When NS Krishnan produced Panam, the second movie of NT, Krishnan Panchu in addition to Parasakthi also directed it. But as they had to exclusively concentrate on Parasakthi, they told NSK that their assistant Bheemsingh would take care of Panam. It was Bheemsingh who directed the movie Panam but due to distributors pressure (Bheemsingh being a fresher) NSK put his own name in the director’s slot. He had to wait for some more years before Ammaiyappan happened but it failed at the BO. Bheemsingh’s second film was Raja Rani. Starring NT and Padmini and written by Muka, it had splendid skits and great acting. But as it happened to many NT films, continuous films of NT getting released one after another affected the success of many deserving films and Raja Rani which was one of the 6 movies of NT in 1956 getting released within very short intervals [Yes, between Jan 14th and Feb 25th of 1956, six films got released] could not reach its desired goal. In spite of the first two films not doing well, Bheemsingh proved his mettle.

He along with some of his cinema friends like MSV and GN Velumani started Buddha Pictures and produced Pathi Bakthi and directed the same. It became a big hit and celebrated 100 days run. His next was Baagha Pirivinai, which simply dethroned all existing records and crossed 200 days. Padikkadha Medhai was again another Super hit which celebrated 100 days and when Kalathoor Kannamma also ran for 100 days, his stock had gone high and producers were more than willing to pay what he demanded. But Bheemsingh and NT shared a special bond and if it is NT, then Bheemsingh was willing to go that extra mile and it was vice-versa too. At the time of this happening (what we are discussing) NT- Bheemsingh combination was doing Paava Mannippu for Buddha Pictures.

MOVIE START UP

When Mohan came and met Bheemsingh (of course Mohan knew Bheemsingh from the days of Raja Rani), Bheemsingh was receptive to the idea. Bheemsingh also listened to the story and he also agreed that the knot is interesting. Bheemsingh had a special knack of working. He had a dedicated task force when it came to story-screenplay and dialogues and the group consisted of Irai Mudi Mani, Baasu Mani and Valampuri Somanathan. Somanathan was good in English and he used to write the screenplay in English. Added to it was M.S.Solaimalai, the aasthana storywriter for Bheemsingh. Everybody would discuss the story threadbare and Bheemsingh would instruct them to write a separate screenplay and dialogues. Then everything would be merged into one and shooting would start. In the titles, one single person’s name would appear.

In the same manner a threadbare discussion on the story had started and it was beginning to shape up. The story knot that dealt with the relationship between a brother and the sister was expanded and new characters were accommodated to make it appealing.

Aroordas was assigned to do the specific dialogue writing. The script shaped up well. Mohan was happy and he put only one condition to VCS that he wanted the call sheet of NT in one stretch. VCS was game but asked Mohan to make sure about the other artists’ call sheets. In return, NT and VCS asked Mohan to do one thing. There was one actor who had been associated with the family, Sivaji Nataka Mandram and films of NT for a very long time. He used to be a regular in all NT films. He was M.R.Santhanam. Present generation can identify him as the father of director Santhana Bharathy. VCS asked Mohan to include Santhanam as a partner in the production company. Mohan without any hesitancy accepted. The company was launched and was named as Rajamani Pictures. The company had an emblem of Rajamani ammal offering Pooja to Lord Muruga.

STORY BACKGROUND

The story opens with a boy running with medicine in his hand only to find his mother dead in their home leaving him and his younger sister as orphans. The boy nevertheless is determined to fight against the odds, goes to work in the nearby mill and supports his sister. Years go by and now Raju and Radha are grown up. Raju still works in the same mill. [The mill’s name is shown as Chinnaiah Pillai Thozhirsaalai, which is the name of NT’s father]. One day Radha is saved from an accident by Anandan, who instantly falls for her. He also works in the same mill and has unionist leanings. Anandan stays in his aunt’s house and the aunt has one son who has literally nothing to do and is trying to woo the daughter of a rich man. Anandan befriends Raju and expresses his love to Radha. Radha is of a firm opinion that her brother matters the most in her life and she will not go against his wishes. Meanwhile Anandan after informing Radha leaves for his native place as he is fighting a legal battle regarding his property,

Due to the strike, the mill is locked out. Radha who has saved some money helps her brother to set up a toy factory and it starts running successfully. On seeing this, the owner of the mill (where Raju worked) comes forward to hand over the mill to Raju. Though a little hesitant, Raju agrees to take over and within a short time, Raju now known as Rajasekar becomes one of the affluent persons in the city. Anandan after successfully winning the legal battle comes back and on learning about the developments that happened, is more than happy and goes and meets his old friend. Raju is also very pleased on seeing Anandan. But Raju is not comfortable when Anandan wants to join as an employee in the same mill. He tries to dissuade Anandan but relents on seeing Anandan firm in his demand.

Anandan and Radha meet again and they spend their time joyfully. Raju unaware of this is busy scouting alliances for his sister. He is introduced to a family that has the same brother sister combination but they insist on a reciprocal arrangement by which Raju needs to marry Malathi, a practicing Doctor. Raju tries to reason it with her brother Baskar, an engineer by profession, who is the bridegroom he had fixed up for his sister. But Baskar is firm in his stand and Raju finally agrees.

Meanwhile Radha’s birthday comes up and Anandan comes there. Raju happens to see them in close quarters and a scuffle ensues. Some workers in the mill are laid off and Anandan takes up their case with Raju. A war of words breaks out but Raju doesn’t give in and he warns Anandan. Anandan is even arrested by the police for obstructing Raju’s car but subsequently released. But the next day when Raju comes to know that Anandan has come to his house and is talking with Radha, he loses his cool and in a maddening moment picks up his revolver and rushes to the garden where Anandan and Radha are conversing. Anandan assaulted by Raju wants Radha to come with him and puts up a condition that Raju should apologise to him. Radha on hearing this denounces her love and declares that as for as she is concerned, her brother is most important than anybody else. Raju on hearing this is moved and he conducts the marriage of Anandan and Radha. Anandan’s aunt Meenakshiammal and cousin Sengalvarayan continue to stay with him in the same house where Raju stays.

Radha who accidentally meets Malathi is impressed by her and tries to get her married to her brother. Then she comes to know about what transpired earlier. She goes to their home and requests her brother. Baskar is very upset because Raju had not only gone back on his words but he had not even invited them for the marriage. Radha convinces him and the marriage of Raju with Malathi takes place and all continue to stay together. Raju is often perturbed and questions the activities of Sengalvarayan but in the best interests of keeping the joint family together decides to keep mum.

But ruffled feelings raise their head. Malathi is not very comfortable with the importance given to Radha. Anandan’s aunt who is eying the vast property, schemes mischief and creates misunderstanding between Malathi and Radha. While Meenakshiammal is caught in one particular situation, she squarely puts the blame on Radha, which angers Raju. In an ensuing war of words, situation becomes ugly with a scuffle breaking out between Raju and Anandan. Anandan decides to leave the house but Raju convinces him to stay back and instead moves out.

There comes an election in which Raju is pressurised by his well wishers and friends to contest. Anandan, a trade union leader contests against him. Raju for the sake of Radha retires from the contest. Meenakshiammal and Sengalvarayan want to usurp the entire property and they send a legal notice on behalf of Radha. A legal tangle ensues but when Raju comes to know that Meenakshiammal is physically abusing Radha, withdraws the case and transfers all the property to the name of Radha.

Both Malathi and Radha are in the family way. While Malathi delivers a male child, Radha delivers a female child. Malathi gets an admission for higher studies in a foreign country. She is reluctant to go but Raju convinces her and she leaves. Raju now all alone with only his son Selvam and the loyal servant Sankaran for company leaves for a pilgrimage. Years roll by and Raju now with his health deteriorating decides to come back and he returns to his town.

Meanwhile Radha and Anandan have been searching for Raju without success and at this point of time Raju comes home to see Radha. Meenakshiammal on recognising him turns him away. In the town, Raju saves a girl child from burn injuries as a cracker is lit and in the process loses his vision. Radha on knowing that her brother had come back, rushes to see him. Anandan who happens to overhear the conversation between Meenakshiammal and Sengalvarayan comes to know of their entire conspiracy and rushes to meet Raju. Malathi after finishing her studies also arrives.

The reunion of the brother and sister after so many years takes the story to another plane resulting in one of the most poignant climax scenes of Tamil films.

CASTING

Once the outline of the story was known, Mohan decided it would be Savithiri for the sister’s role. NT suggested that Mappilai (meaning Gemini) be booked for the “Mappilai” role. MN Rajam and MN Nambiar were drafted in as the brother-in-law and wife of NT character. Thangavelu acted as the cousin and P.S.Gnanam as the aunt of GG. M.Saroja paired opposite Thangavelu.

SCREENPLAY & NT

One of the success points of Bheemsingh was his ability to insert real life happenings into the story so that the people really felt that they are not watching a movie but living amidst a family. But this would not be forced into the story sticking like a sore thumb but instead it would be a seamless integration. Here too the tussle between the close relatives and hero walking out of the house leaving all the property was a real life happening. Even the election and withdrawal and Raju’s wife and well wishers objecting to it were taken from incidents that happened to Bheemsingh’s close circle of people. Another factor that always helped Bheemsingh’s films was logic. He would build up a scene based on logical questioning. While Raju becomes rich, it is shown that he learns English and playing of instruments like piano. Same way Meenakshiammal watches and listens to the exchanges between Malathi and Radha when Raju brings new saris for them so that she is able to plan her mischief. Even dialogues like இந்த கூர்கா எங்கே போய் தொலைஞ்சான் in the scene when Raju comes back after so many years, have a purpose because people would think how a person can simply walk in to a bungalow, though here we know that the Goorka identifies his old boss and lets him in.

Once the screenplay was ready, NT and Bheemsingh knew that this would turn out to be a great treat for the audience, as the scope for performance was huge. The hero’s character undergoes sea changes during the course of the movie. From an innocent simpleton for whom the whole world is his sister to a rich majestic businessman and then as a person who is in search of peace to finally end up as a man defeated by all, this required an actor of NT’s caliber to present it convincingly and convince he did.

NT can convey the character through body language and apt dialogue. Check the scene when he watches bemused, GG arguing with the mill supervisor on his behalf, his walk with folded hands back towards home with GG accompanying him [நீ எனக்காக முதலாளி கிட்டே இது பண்ணி பேசினியே, எனக்கு அது கூட ஒரு இதுவா தெரியலே ஆனா நீ என் தங்கச்சியை காப்பாதினேனு சொன்னியே அந்த இது தான் first class], he explaining his exact feelings about his sister [அவ சிரிச்சா நான் சிரிப்பேன். அவ அழுதா, ஐயய்யோ என்னாலே நினைச்சு கூட பார்க்க முடியலே], his total bewilderment when Savithiri tells him that she has Rs 1000/- with her, all these would bring out a simpleton in front of you.

If that is so, his second avatar of the rich majestic businessman would be a treat to watch. His gait coming down the step, his checking the time by stylishly lifting his left hand when Savithiri asks him to come home early, his demeanour while negotiating M.N. Rajam, first at the birthday party and second in the first night scene, his reaction at the factory when GG brings laid off workers, especially his holding back the anger and replying calmly but firmly (“No. I say no”), his casual, matter of fact explanation that both the saris are of same price with the only difference being colour, his diplomatic way of informing over phone that he is unable to attend the betrothal function and of course his unbeatable, unparalleled style of smoking – you never realise it is acting but instead feel you are watching a live person.

When it comes to his sister, the anger you see him is so real. His manhandling GG at the birthday party (though visuals are not shown – his gesture of kissing his fist indicating what transpired would evoke tremendous cheers), again see how immediately he reacts when GG slaps Savithiri, so natural a reaction from an affectionate brother.

The Film became the benchmark for Brother – sister relationship. How the brother feels for his sister is told in one dialogue. NT tells his son உனக்கு ஒரு தங்கச்சியே வேண்டாம். சகோதர பாசம் என்னான்னே உனக்கு தெரிய வேண்டாம்.

SHOOTING BACKGROUND

The shooting started and as Mohan wanted, the call sheets were bulk in nature. The entire indoor scenes were shot at Neptune Studio. NT’s own bungalow Annai Illam was shown as the bungalow of Raju and some scenes were also shot inside the house as one can see the front hall of Annai Illam figuring prominently with the famous elephant tusks at the backdrop. Only one song was shot in outdoors and it was Kodaikanal where Yaar yaar song and honeymoon sense were shot. On a sentimental note (as Bheemsingh would like to have it) Madurai Meenakshi temple would form the backdrop during the pilgrimage.

We saw earlier that Muthu Manickam had also started his movie and Vidi Velli by now had been released (31.12.1960) and turned out to be a 100-day movie. Paava Mannippu was on floors at this time along with other NT movies such as Ellaam Unakkaaga, Sri Valli, and Marudha Nattu Veeran, which were in various stages of production. Added to it G.N.Velumani had started Paalum Pazhamum with the same NT-Bheemsingh combo and B.R.Panthulu after the stupendous success of Kattabomman had launched Kappalottiya Thamizhan. So Mohan was aware that he had to use the call sheets judiciously, lest he would be caught napping,

QUEEN’S VISIT TO MADRAS

At this point of time (Feb 1961), Queen Elizabeth‘s visit to India was planned and Madras was also included in the itenary. Tamilnadu under Perunthalaivar Kamaraj’s rule was making fast industrial progress and Avadi- Ambattur belt was developing into a manufacturing hub. So many big and small industries were being set up and to cap it all, the Integral Coach Factory and Heavy Vehicles factory were set up. So a visit to the ICF was planned and included in Queen’s tour. The Queen, it was decided, would stay in governor’s place at Guindy and would travel to Perambur- Avadi via the city and would pay a visit to ICF. The State government wanted welcome arches to be set up throughout the route in honour of the Queen. Government officials scrutinized the list of artists and zeroed on Mohan and his Mohan Arts because he was one of the most experienced persons in the field.

Under normal circumstances, Mohan would have said yes without even thinking twice. But here he was deep into film production engaging the busiest artists and technicians of the Tamil film world and he shuddered to think of the financial burdens he would have to bear in case of call sheets being wasted and shooting schedules going astray. But NT and Bheemsingh realizing the importance of Queen’s visit asked him to accept the job and assured him that shooting would not stop just because he was not there.

They kept their word and M.R.Santhanam took care of the production schedule. Mohan free from the tension went and did a commendable job. Totally 102 arches were put up throughout the entire stretch of the route welcoming the Queen. Mohan recalls that the personal guards of the Queen came one day in advance and checked the strength of the arches by even climbing on the top of the arches. They gave a go ahead signal and Queen was more than happy to see the arches and Mohan was called to Delhi later and received a memento from the President for the excellent job.

CLIMAX – CONCEIVING & EXECUTION

Now coming back to the movie, shooting was progressing with the well oiled team of director-screenplay writers-dialogue writer –artists making it a smooth pair. Though it was decided that the end would be a tragic one, there were differences regarding whether it should be the brother alone or sister also needs to die. While most of the people (connected with the screenplay) wanted the brother alone to sacrifice, few were for both of them passing away and this few included Bheemsingh. The detractors were arguing with him that it would look illogical for the sister to die along with the brother and such an ending would adversely affect the success of the movie but Bheemsingh was confident that this ending would definitely make the necessary impact.

But they had not decided finally and the rest of the portions were being shot. Suddenly one event happened that firmed up the decision of Bheemsingh. Jupiter was one of the biggest production houses of Tamil Film world and Somu was the owner of the company. He fell ill and suddenly passed away. The film world received the news with shock and before they could recover from it, Somu’s daughter so much attached to her father and so much affected by his death also passed away. Though this was a shocker to Bheemsingh and unit, this real life happening enhanced their stand that twin tragedy would work.

Before the climax, NT had discussions with Bheemsingh regarding the mode of execution but nothing was finalized as many suggestions came up. On the previous day after the shooting was over, NT asked Mohan to come early in the morning to pick him up and left. Mohan as told reached Annai Illam early in the morning only to face an agitated Kamala Ammal. On enquiring she told Mohan that NT had not slept the previous day and instead he was watching English movies till early morning and then he had started walking around the bungalow till early morning.

NT after a bath was ready and they reached the studio before anybody could come. He told Mohan that he is not going to eat anything and said that he is going to lie down and asked Mohan to ask Bheemsingh to wake him up once the shot was ready. Earlier NT had discussed the climax with Aroordas and he told him to think differently. In the sense he didn’t want a lengthy scene or long dialogues but instead it should touch the viewer’s heart. The hero is physically and mentally shattered and he has forgotten what happiness is. The same applies to her sister. So when they meet up after a very long time naturally their thoughts would revolve round the happiest memories they shared and for every human being, their childhood is the happiest period. So hero talks about childhood memories. When this was discussed Aroordas talked about Kai veesamma dialogue. Though it didn’t look great while discussing, what an impact it created on the public wonders Aroordas.

NT had told VCS not to send any person from the office to him during that day. Though VCS was looking after the office administration, the powers of signing in cheques and important documents vested with NT. So it was a common sight in the sets with some one from Sivaji films coming in for getting signatures. He had also instructed that if anything needs to be conveyed, it should come through Aroordas.

Bheemsingh and Savithiri came to the set. According to the screenplay, Savithiri should be more emotional because she is seeing him after so many years and more over the news that he has lost his vision shatters her. Aroordas as per the trend during those times had written a dialogue steeped in edugai monai. வைரம் போல் ஜொலித்து வைரிகளையும் வசீகரிக்கும் உங்கள் கண்கள் எங்கே அண்ணா? Here வைரிmeans opponent, எதிரி . When the camera started rolling, Savithiri simply transformed herself as Radha and gave a splendid performance. The whole unit was mesmerized. But Savithiri from the face of Aroordas found out that he is not fully happy and asked him the reason. He replied that her performance was so good but she missed out one dialogue. She spoke “வைரம் போல் ஜொலித்து விரோதிகளையும் வசீகரிக்கும் உங்கள் கண்கள் எங்கே அண்ணா?” where the vairi had become Virodhi. Though both mean the same, Aroordas wanted one more take. This time Savithiri correctly said but her performance was not like the first and so they decided to keep the first take and Virodhi was retained.

The climax was short but the effect it had on the audience was so great that it is highly doubtful whether any other film had made a greater impact than this. Radha asks Raju about his vision whereas Raju talks about their childhood. He is emotional and says அப்போ எனக்கு பத்து வயசு. உனக்கு ஒரு வயசு. உன்னை இடுப்பிலே தூக்கி வச்சுகிட்டு கை வீசம்மா கை வீசு கடைக்கு போகலாம் கை வீசு மிட்டாய் வாங்கலாம் கை வீசு, after saying this he breaks down. It was not only he, but also the majority of the audience did the same. Irrespective of whether one was man or woman, whether rich or poor, whether they had a brother/sister or not, the emotions were the same for everyone. In fact it is a common refrain to hear the older generation say that they cried while watching Paasa Malar.

When the climax scene was completed both the artists were drained completely. In fact Savithiri twice fell down unconscious and the family Doctor of NT who was called up stayed back in the set till the shooting was over. Savithiri was given injections and it transpired that she had also kept awake all night for this scene. What a dedication from both the artists. Not for nothing they are called Nadigar Thilagam and Nadigaiyar Thilagam.

SONGS COMPOSITION

Let us come back to our subject. All the songs were written and then tuned. That added to the beauty of the songs.

Now as a default it was Kannadasan and VR for the songs. Bheemsingh had this habit of marking out the situations where the songs need to be introduced in the screenplay itself. Moreover he used to tell the story at the very outset to the Kannadasan –VR combo for he felt it would enable them to tune themselves with the story and well he was able to hit the bull’s eye every time. The songs went like this.

1. மலர்களை போல் தங்கை உறங்குகிறாள் – a sequence where the brother dreams about the happy futuristic life of his sister. You can read the dreams in NT’s eyes. The way he expresses them. Especially when Savithiri prostrate before him, the way in which he wipes his tears. Kannadasan was at his prime and one sample will do

2. எங்களுக்கும் காலம் வரும் - a song where NT and Savithiri sing inside their factory manufacturing dolls. Again NT and Savithiri would bring out the innocent characters to the fore.

3. யார் யார் யார் அவள் யாரோ– the duet between GG and Savithiri.

The only outdoor song and again Kannadasan would be at his best. In fact his lines would depict the pattern what decades later was called Pudhu Kavidhai
நினைவில் மயங்கும் பொருளானாள்
நிலவில் மயங்கும் இருளானாள்

And then the last charanam where he beautifully describes the heroine with verbal adjectives.

4. வாராய் என். தோழி வாரோயோ – the song during the marriage of GG- Savithiri.

Mr.Manisegaran had written a superb article in this same topic. Nothing more to add except to say that it is LR Eswari’s first solo song. Watch NT’s reaction.

5. பாட்டொன்று கேட்டேன் – the song at the birthday function of MN Rajam and when you watch this you know what is style and grace. It is personified here.

6. மயங்குகிறாள் ஓர் மாது– the song that comes during the first night of NT- MN Rajam. As I said earlier specially to be watched for NT’s reaction. To borrow a phrase from what Vairamuthu said ஒரு சிங்கம் வெட்கப்பட்டு பார்த்திருக்கிறீர்களா? இதில் பார்க்கலாம்

THE SONG COMPOSITION

Now coming to the song. The song in discussion and the background news. As it happened to many classic songs, this song was thought of only after some shooting had taken place. All the songs are over before and just after the half way mark. Second half was heavily loaded with emotions and the talk of relief through a song was discussed. But Bheemsingh didn’t want to dilute the impact but at the same time he also agreed a song should be included and thus the duet between the brother and sister came up. Kannadasan came down to write the song. VR asked him to write the lyrics first after Bheemsingh explained to him the situation where it needs to be inserted. It is actually not a situational song. After M.N.Rajam flies out to a foreign country both the brother and sister holding their infants in their hands sings a lullaby song, where the past, present and future merge and Kaviarasar simply did it seamlessly. The Pallavi and anu pallavi simply came with a speed of bullet it seems.

Viswanathan tuned it within 3, 4 attempts. Similarly Kannadasan in great mood was unstoppable and the charanams also flowed and within a matter of minutes he had written the lyrics for the entire song. VR with a soulful tune completed the song. Now Bheemsingh wanted MSV to sing the song. MSV didn’t understand the reason behind it. Bheemsingh while MSV was singing the first charanam interrupted and suggested it would add up to the feel if the last lines were repeated. The charanam was like this

Bheemsingh suggested that the line before the last be repeated and MSV felt it was a good suggestion. In the same manner it was decided that the second charanam, which the sister sings, would also be of the same pattern.

RECORDING

During the recording, MSV taught the song to TMS and PS and told them that in the charanam the words have to tremble like it would appear when one sings while crying. TMS and PS the geniuses they are did a splendid job. Especially the soft rendering, the pause, the fumble were captured beautifully. PS went one step ahead. As the female voice cries openly, the sob she gave before the final line உலகை விலை பேசுவார் was so stirring that many had their kerchiefs wet. Even the technicians, who normally don’t emote, they having seen such types day in day out were visibly moved.

SONG PICTURISATION

The song shooting was done separately for NT’s portion and separately for Savithiri’s portion. Though they never saw how the other is performing, they being NT and NT simply excelled. If Savithiri scored in the first charanam where she sobs in front of NT’s portrait (a poetic, classic close up shot of NT’s portrait facing the camera with Savithiri standing in front of it), in the final charanam NT by simply lying down on a mat with his eyes focused on the ceiling and lip syncing [with two top angle shots]
கண்ணில்மணி போல மணியின் நிழல் போல
கலந்து பிறந்தோமடா
would steal the show
. MOVIE NAME

The movie was not named till it was more than 75% complete. While composing was going on for மலர்ந்தும் மலராத, this came up. Kannadasan enquired and somebody told him it is tentatively named as அண்ணனுக்கு துரோகம் செய்த தங்கை. Kannadasan could not control his laughter and commented ஆயிரம் தலை வாங்கிய அபூர்வ சிந்தாமணி மாதிரி சொல்றே . Mohan at that time asked Kannadasan why don’t he give a name to the film for which Kannadasan replied he would do, provided he is paid for that. Mohan accepted and said that if he can give a name, which is acceptable to all, he would give Rs 500/- for the title. Kannadasan came up with Paasa Malar and everybody was happy. Mohan paid him the money.

But some in the industry were skeptical and questioned Bheemsingh about this. முல்லை மலர், அனிச்ச மலர் தெரியும். அதென்ன பாச மலர்? And they doubted whether the common man would understand? When Bheemsingh brought up this to Kannadasan, he replied அந்த மலரெல்லாம் வாடிடும். ஆனா இந்த பாசத்திலே விளைந்த மலர் இருக்கே அது என்னிக்கும் வாடா மலர். காலா காலத்திற்கும் நிலைச்சிருக்கும். How prophetic he turned out to be?

To assure Bheemsingh, Kannadasan wrote a song and asked him to include it while the titles are shown. This would clear all doubts. The song is

அன்பு மலர் ஆசை மலர்
இன்ப மலர் நடுவே
அருளோடு மலர்வதுதான்
பாச மலரம்மா

CENSOR HICKUPS

The film after completion was sent for censor. Sastry an upright officer was the chairman. He was there when Paava Mannippu was censored 2 months before this. That was a ticklish subject dealing with all religions but Bheemsingh had done an excellent job of not hurting anyone.
Only in the song வந்த நாள் முதல், Sastry had objections to two lines. The first one was the last line of Pallavi

மனிதன் மாறி விட்டான்
மதத்தில் ஏறி விட்டான், the last line மதத்தில் ஏறி விட்டான் was made silent.

The second change was in the charanam
எதனை கண்டார்
மதம்தனை படைத்தார்
and instead of மதம்தனை படைத்தார் it was changed to பணம்தனை படைத்தார்.

Here in Paasa Malar he was not comfortable with the வாராய் என் தோழி வாரோயோ lyrics in the last charanam

but later gave in, stating that அர்த்தத்தை பார்த்தா கட் பண்ண தோணுது ஆனா தமிழை பார்த்தா விட்டு விட தோணுது and he left it untouched.

RELEASE & SUCCESS STORY

Bheemsingh had one peculiar sentiment. He would always take the 7th reel from the 7th Print and take it Tirupathi for Pooja, as he was a staunch devotee of Lord Venkateswara (remember he taking NT to Tirupathi?). The film’s release date has been announced as 27th May of 1961 and reservation had started in Chennai theatres. This time due to the last minute delay in censoring, the prints could be readied only in the previous night. Mohan had to deliver all the prints to the respective distributors and it was morning 5 am of 27th May when he could start the journey to Tirupathi. Mohan says that he had never traveled so fast in a car. Incidentally he had taken the print meant for Chitra Talkies in Chennai as it was nearby his office (Wellington, Mount Rod). The crowds were mammoth and the Chitra theatre manager couldn’t decide whether to issue the tickets for the 3 pm show, as he had not received the print. During those days there was no way one could contact persons who were traveling. Finally Mohan came at 2.45 pm with the print.

The movie started and people were simply absorbed in to the film. Once the movie was over Mohan came out and tried to speak to the ladies. The entire crowd was silent and the ladies were simply having their faces down. Mohan followed some but couldn’t start a conversation. Finally he stopped a group who seemed to be educated middle class persons and when Mohan asked them about the movie, a lady looked up and her face was swollen and her eyes red and uttered இப்படி எங்க மனசையெல்லாம் கஷ்டப்படுத்தி அழ வச்சுடீங்களேய்யா and walked away. Mohan could not gauge the exact reaction even then. He came back to office and put up trunk calls to Madurai and Tiruchy. There too the same type of reactions had been experienced. Only during the night show and the next day morning he could realize that they had indeed hit the jackpot. Only after this another feeling sunk in. He felt very hungry and then realized he had not taken any food for the past 3 days because of this preoccupation and was consuming only liquids without even realizing it. The movie went on to celebrate Silver jublie, the second NT film to do so in the calendar year 1961, the first one being Paava Mannippu. Not only that this movie bagged the best Tamil film award in the National Film Awards for the year 1961.

Mohan went and met the prominent personality who had financed him and gave back the entire money along with interest he had taken. Though the personality asked him to keep it and use it for future projects, Mohan declined the offer and gave back the money and thanked him for the help rendered.

While the movie brought accolades for the lead actors, it brought equal brickbats for one person. She was P.S.Gnanam, who enacted the role of GG’s aunt Meenakshiammal. After the release, she couldn’t even go out as the entire Thaikulam started abusing her wherever she went. When Mohan invited her for the jublie celebrations, she refused to come and only on persuasion, she came reluctantly. Mohan recalls that she used to apologise initially at all stages.

SIGN OFF

My personal first experience with this movie was only in 1970 at Madurai – Chandra (later named as Shanthi and now defunct) and the tragic feel struck me more than anything else. As years rolled by and with repeated viewings, I was able to savour the nuances of the film. People may feel that enough has not been said about the song and it’s rendering but what can I say except to state that it is
இருபதாம் நூற்றாண்டின் இணையற்ற கவிஞர் எழுதி
இருபதாம் நூற்றாண்டின் இணையற்ற இசையமைப்பாளர்கள் இசையமைத்து
இருபதாம் நூற்றாண்டின் இணையற்ற பாடகர்கள் பாடி
எந்த நூற்றாண்டிலும் ஈடு இணையற்ற நடிகர்கள் நடித்த